From the New York Times:<P><B>IN PERFORMANCE: ERUPTING INTO TILTS, BENDS AND EXTENSIONS</B><P><BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Neil Greenberg describes his "Construction With Varied Materials" as a tongue-in-cheek and heart- on-sleeve potpourri of new and reworked materials. But this new piece, performed on Friday night, looks like much more than that tired formula.<HR></BLOCKQUOTE> <P><BR><A HREF="http://www.nytimes.com/2001/03/15/arts/15PERF.html" TARGET=_blank><B>MORE...</B></A><BR>

Neil Greenberg likes to make our eyes work. We focus tightly on a rotating wrist, then widen our gaze to take in a dancer's whole body as the movement lashes through it. <a href=http://www.villagevoice.com/issues/0313/jowitt.php target=_blank>more</a>

Multiple Sightings of Dance Live and Onscreen by DEBORAH JOWITT for the Village Voice

The "extravagant, potent, mysterious dancing" he says he's committed to making has often been accompanied by projected words.

...

Greenberg is not just a dancer doing his stuff; he's a man thinking and feeling things through changes in the movement's scale, rhythms, and dynamics; through focus; and through the alternation of motion and stillness.

Choreographer’s style: lights, cameras, deadpan action....Greenberg’s dances often include texts, projections, and other media woven into the choreography. His team for “Partial View,” the new piece that Dance by Neil Greenberg is presenting in Concord, consists of the MacArthur-winning video designer John Jesurun, plus two longtime regulars, composer Zeena Parkins and lighting designer Michael Stiller.

The Concord Academy Summer Stages Dance series continued last week with two versions of Neil Greenberg’s Partial View, a new work that could be about seeing and being seen, meaning and performing meaning, or the always uncertain dialogue between dancer and audience. When you get down to it, every view is partial, from whatever angle, whatever vantage point in life. Greenberg piles layers of extra stimuli onto the movement, pressing home the point.

Living and Dying in the Age of AIDS, Continuedby GIA KOURLAS for the New York Times

"This might be my mortality issue, but I don't want this dance to die," Mr. Greenberg said after a recent rehearsal. "And it doesn't have to be dead right now."

The new production coincides with the 25th anniversary of the AIDS epidemic, which ravaged the dance world, among others. Writing in The Village Voice in 1995, Deborah Jowitt said: "This is not a work that demands pity for the choreographer. It's about the process of artistic creation set parallel to the life that's being lived."

The Dances of Neil Greenberg: Finding Life Among the Lossesby CLAUDIA LA ROCCO for the New York Times

The four men, including Mr. Greenberg, occupied the stage like beads fallen from a necklace, disconnected but somehow still parts of a whole. As an upbeat RuPaul song (with a jittery assist from the composer Zeena Parkins ) urged them on, the men hopped and balanced and stamped their feet, throwing in campy little come-hither pelvic twitches.

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